10 Abstract Facts About Jackson Pollock’s No. 5, 1948

It’s easy to dismiss Jackson Pollock's No. 5, 1948 as a senseless splatter of paint—but even if you can’t appreciate its aesthetic, this piece has a history that’s worth its weight in house paint and stacks of cash. Here are 10 facts about the late artist's masterpiece, on what would have been his 106th birthday.

1. IT'S A KEY WORK IN THE ABSTRACT EXPRESSIONIST MOVEMENT.

In the wake of World War II, New York City artists like Pollock, Barnett Newman, and Willem de Kooning began pushing the boundaries of their paintings in a direction that would be dubbed "Abstract Expressionism" by art critic Robert Coates in 1946. This wave of modern art made New York the center of the art world, thanks in part to the movement's embrace by esteemed collector and patron Peggy Guggenheim. Pollock's contribution was his drip paintings, of which No. 5, 1948 is his most famous.

2. POLLOCK USED A UNIQUE METHOD TO MAKE HIS DRIPS.

Rather than working from an easel, Pollock would place his canvas on the ground and pace around it, applying paint by dripping it from hardened brushes, sticks, and basting syringes. Pollock had only begun experimenting in this form the year before No. 5, 1948's creation, but his style soon became so signature he was dubbed "Jack the Dripper." 

In 1947, he told the magazine Possibilities, “On the floor I am more at ease. I feel nearer, more part of the painting, since this way I can walk around it, work from the four sides, and literally be in the painting.” 

3. NO. 5, 1948 IS A MARKER OF THE BIRTH OF "ACTION PAINTING."

Drip painting came to seen as a form of "action painting," which American art critic Harold Rosenberg defined in a 1952 essay, declaring, "Action Painting has to do with self-creation or self-definition or self-transcendence; but this dissociates it from self-expression, which assumes the acceptance of the ego as it is, with its wound and its magic." 

4. POLLOCK DIDN'T DO ANY SKETCHES OR PRE-PLANNING FOR NO. 5, 1948.

Pollock's works were revolutionary on several levels. For centuries, artists had sketched out or test-run their large-scale paintings. But not Pollock, who was instead guided by emotion and intuition as he wove around his fiberboard base, dropping and flinging paint as his muse demanded. He abandoned brushstrokes in favor of drips and splashes, and set the art world on fire with his impromptu masterworks. 

5. HE USED UNCONVENTIONAL PAINTS FOR NO. 5, 1948

An important element of the drip method was paint with a fluid viscosity that would allow for smooth pouring. This requirement meant traditional oil paints and watercolors were out. Instead, Pollock began experimenting with synthetic gloss enamel paints that were making old-school, oil-based house paints obsolete. Though this clever innovation was praised, Pollock shrugged it off as “a natural growth out of a need.” 

6. FOR A TIME, NO. 5, 1948 WAS THE WORLD'S MOST EXPENSIVE PAINTING.

On June 18, 2006, Gustav Klimt's Adele Bloch-Bauer I sold for $135 million, making it the highest priced painting in the world. Less than five months later, No. 5, 1948 fetched $140 million. In 2011, this title was snatched by one of Paul Cézanne's Card Players, with a price tag of $250 million. 

7. IT'S A MASSIVE WORK.

No. 5, 1948 measures in at 8 feet by 4 feet. The Guardian notes that this means each square foot is worth over $4 million.

8. NO. 5, 1948 WAS POSSIBLY SOLD TO FUND A BID FOR THE LOS ANGELES TIMES.

The New York Times reported entertainment tycoon David Geffen may have unloaded No. 5, 1948 in that 2006 sale, along with pieces by Jasper Johns and Willem de Kooning, in an effort to pull together enough capital to purchase the established newspaper. The sale of these three paintings netted $283.5 million. Yet Geffen never did buy the LA Times, even though he tried repeatedly. Once, he even offered $2 billion. In cash.

9. NO. 5, 1948 WASN'T POLLOCK'S ONLY RECORD BREAKER.

In 1973, Pollock’s 1952 piece Blue Poles sold for $2 million. While nowhere near as expensive as No. 5, 1948, that figure was enough to make it the highest price paid for a contemporary American work at that time. Sadly, Pollock never saw either of his pieces make art history—a car accident on August 11, 1956, cut his life painfully short. 

10. NO. 5, 1948 AND ITS SIBLINGS STILL MYSTIFY A LOT OF VIEWERS.

While the art critics gush and collectors lay down millions for an auctioned Pollock piece, a good portion of the public is still confounded by the artist's output 60-plus years later. Every time one of his paintings sells for millions, articles pop up asking why. The short answer is, though his drip paintings may not be accessible, they were seminal, changing the way we think of art itself. They may not be traditionally pretty. But they are both art and art history.

95 Years of The New Yorker Covers Visualized by Color

Screenshot via C82
Screenshot via C82

On February 21, 1925, The New Yorker appeared on the magazine scene with a cover illustration of a dandy drawn by art editor Rea Irvin, a character later christened Eustace Tilley. Almost a century later, Tilley still graces the cover of The New Yorker at least once a year on the magazine’s anniversary. Other weeks, they commission artists to illustrate timely political topics and evergreen moods.

The magazine has run more than 4600 covers in its 92 years of near-weekly issues (it’s currently published 47 times a year), all of which you can explore by color, thanks to designer Nicholas Rougeux (who has previously visualized sentences and punctuation in classic literature).


Using an algorithm, Rougeux analyzed the top five colors represented in every cover illustration and created a color palette for that issue. Then, he mapped out a palette for every single cover, creating a timeline of New Yorker design. It allows you to see what colors have dominated particular years and decades. If you scroll over the individual palettes, you can see the full image of that week’s cover.


Rougeux found some trends in the colors that have repeatedly graced the magazine’s cover. “Limited and muted palettes were used the 1920s," he writes on his site, while "possibly due to printing limitations, darker greens were more common in the 1940s, lighter palettes were used in the 1970s and 1980s, louder contrasting palettes were popular in the 1990s and more well-rounded palettes started being used since the 2000s.”

You can explore the color timeline for yourself here.

All images courtesy Nicholas Rougeux

Bob Ross's Son Is Holding Painting Classes at a Tennessee Library

Bob Ross.
Bob Ross.
Bob Ross Inc.

For anyone who has ever logged on to the internet, Bob Ross needs no introduction. The painter, who passed away in 1995, spent the years 1983 through 1994 hosting the PBS series The Joy of Painting, where his soothing manner and bubbling-spring landscapes comforted viewers.

On several episodes, Bob’s son, Steve Ross, could be seen painting his own nature scenes as guest host or assisting his father in answering reader questions.

According to WVLT, Steve Ross is now set to offer painting classes at the Blount County Public Library in Maryville, Tennessee. He will be joined by Dana Jester, an artist who also appeared on The Joy of Painting. The workshops will be held March 4 through March 8 and will cost $125 per attendee, who will also be expected to bring their own supplies. The classes will last the entire day.

If locals are curious and don’t want to commit to the fee, Steve and Dana will be hosting a free demonstration on March 5 at 6:30 p.m.

After his guest spots on his father’s program, Steve appeared to retreat from public life, though clips of his appearances were apparently popular on Tumblr for their inadvertently risqué banter. (“It can be dirty, it doesn’t have to be clean,” and so forth.)

Bob Ross also taught classes even while The Joy of Painting was airing. He purportedly received no income from that show, earning a living via merchandising and appearances.

[h/t WVLT]

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